DECEMBER 2021: ISSUE 9

THE

BLACKPRINT DEC 2021 • ISSUE 9

MALIK GOMES CRUZ

AISHA JALLOW

THE FUTURE LOOKS LIKE ME

KAYLA KELLY

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CAMPUS ..... 6 CULTURE ..... 24 MULTIMEDIA ..... 36 OPINION ..... 46

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AU EXCELLENCE ....10 .... 24 .... 42

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MODELS: MALIK GOMES CRUZ | AISHA JALLOW | KAYLA KELLY

COVER: RONALDO BOLAÑOS

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L E T T F R O TH

EDIT

Dear Reader,

LETTERS FROM THE EDITORS

It has been an honor designing, editing, and producing the ninth edition of The Blackprint magazine alongside our brilliant team of writers, editors and creatives. There is nothing more important to me than telling the stories of our people in all forms. The Blackprint will always be my little baby; this is where I’ve grown as a person, as a creative and a student. Where I’ve met some of the most talented people and it continues to be the most fulfilling experience I’ve had here at AU. I will forever be thankful to our founders and all of the exceptional Editors-in-Chief who followed; following in their footsteps has guided my co-leadership with Isaiah in the best way possible. Since returning to campus in person, this is our first print magazine, and I am so excited for you to enjoy it. As you read our zine, I hope you feel seen and represented. Most importantly, I hope you are reminded that the future looks like you.

With Love,

Festicia

STAY HONEST.

STAY BRI

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T E R S O M HE

TORS Dear Reader,

Regeneration. Reformation. Revival. Future. These concepts have guided our physical return to campus, the development of our publication, and this year’s zine. As we nested in our office and distributed past issues to the campus community, we were reminded of our organization’s potential as it is informed by the innovation of the communities we serve. Communities that have morphed defense mechanisms into dance moves, painful cries into moving songs, rage into brushstrokes, and spoken word. Communities that have envisioned futures in the face of being denied one.

Communities that have “put a flag on a whole ‘nother planet” in the Afrofuturist words of Janelle Monáe. We are thankful for Elisha Brown and Taryn Daniels who secured a future for the voices of the BIPOC community at American University, and we hope to make them and the phenomenal Editors-in-Chief who followed proud. Thank you to our wonderful team for tilling the soil of our utopia, our little Wakanda with us. And thank you, reader, for taking the time to see what our future looks like.

ILLIANT.

With gratitude, Isaiah

STAY WOKE.

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KHADIJAH DIALLO

NAVIGATING THE “NEW NORMAL”

BY: SYEDAH ASGHAR

What is the new normal, and has higher education transformed to serve these needs?

After an entire school year online, students expressed the challenges and celebrations of transitioning to in-person instruction.

being involved in campus organizations, and reimagining socialization after isolation.

Salchak detailed that she academically performed better on a virtual platform, given that there was not an understandMany students shared the variety of new presing of work-life balance. Instead, it was sures they have faced while navigating the ‘new working on her internship or doing asnormal’, including concerns regarding health, signments for class. Now that classes are academic, and social challenges. in-person, Salchak feels that her attention span is not the same, given that she could Celeste Brown, a junior studying Public Relabe multitasking during lectures. “Sitting tions and Strategic Commuin class is painful; I could nication, emphasized how be much more productive “Sitting in class is the flip from living alone to virtually,” said Salchak. be seated around strangers in painful; I could be classrooms has left her worSimilarly, Brown felt more much more productive ried about whether or not her engaged in her virtual peers have been responsible. classes as speaking to a virtually.” screen was more effortless “I’m scared to pull my mask than a classroom full of down and drink water,” said Brown. “I don’t students. know what their Friday night plans were.”

“I had a meaningful connection with my Aykys Salchak, a senior studying Internaprofessors and peers since we were all extional Service, discussed a fear of spreading periencing the same thing,” said Brown.

COVID-19, rather than obtaining it herself.

Salchak spent her virtual semesters with her On the other hand, Qudsia Saeed, a sophparents in New Jersey, and was anxious about omore studying Elementary Education, returning to a campus full of thousands of performs better under the expectations people. “I will be okay if I get COVID-19,” said that in-person classes require, given that Salchak. “But I don’t want to be responsible for it serves as motivation. Despite having someone else getting it.” reservations about whether her peers in a classroom are responsible, Saeed prefers to On top of the challenging coursework during connect with professors in person. Some midterms season, many students have lingering professors have adapted from what they stressors from the pandemic. Students have to have learned from the pandemic from the consider factors such as preparing for class, pandemic to better serve student needs.

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NAVIGATING THE “NEW NORMAL” 8

Salchak included the benefit of being able to attend virtual office hours from the comfort of her studio apartment off campus. However, she shared that the most meaningful adaptation of practice includes how professors are more understanding of illnesses. In her classrooms, professors have asked students to join through Zoom if they’re experiencing any sort of symptoms.

While some students have a reluctance in socializing due to health concerns, many are facing anxiety after being isolated for a year.

The senior has chosen to embrace what she formerly took for granted, which is spending as much time with her friends. She acknowledged that the pandemic has transformed her social battery, citing that crowded spaces cause mental exhaustion.

“I worry about my assignments later, and I prioritize spending time with my friends,” said Salchak.

Similarly, Saeed shares the approach of prioritizing mental and physical health, which is a result of not being able to celebrate crucial moments such as high school graduation.

“Academics cannot be my priority,” said Saeed. “From the pandemic, I have learned to allocate my energy for my mental health.”

While students are navigating the return to campus, it is crucial to consider the various aspects that influence how students perform in classrooms. By understanding the lingering stressors from the pandemic, some professors have shown the ability to individualize learning experiences.

“From the pandemic, I have learned to allocate my energy for my mental health.”

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AISHA

AU EXCELLENCE:

RONALDO BOLAÑOS

JALLOW

BY: JASMINE DEAN

Aisha Jallow, who calls Hartford, Connecticut home, is a junior studying International Studies with a regional focus on Sub-Saharan Africa, and a minor in Anthropology. Outside of her studies, one can find Jallow making her mark on every inch of campus: she’s Co-President of the African Student Organization (ASO), the Social Media Chair for SisterSister AU, the Director of Social Media for the SIS Undergraduate Council, the undergraduate Board of Trustees representative, serves on Yearbook Committee, is a Resident Assistant for Letts Hall, and a Program Leader for Complex Problems. Her impressive list of involvement at AU makes one ask, what doesn’t Jallow do?

Jallow’s passion for bringing together the African community and dedication to empowering other Black women at AU while also finding a way to express her creativity truly makes her stand out as a passionate leader. Read below to see The Blackprint’s conversation with Jallow about how she’s creating a bright future for the Black diaspora at AU, and for herself.

THE BLACKPRINT: How do you balance everything that you’re involved with, both on and off campus?

AISHA JALLOW: If I feel like I have time to commit myself to something, then I’ll agree to it. But there have been times where I’ve been asked to do something, and I’ve said, “honestly, I don’t have the time to do so.” I think, especially in college, it’s very easy to over-involve yourself solely for the benefit of making your resume look good. But I think you need to take a moment within yourself to ask, is this something that brings me joy? If the answer is no, then you shouldn’t do it. Everything I do, I genuinely enjoy it. For organization, one of the things I love is the app Notion. I organize my entire life there because I’m a visual person. I’m not gonna lie, sometimes I do forget things because I am human. And with all of those commitments, it’s very easy to let things slip through the cracks, but I try my best to make sure it doesn’t happen.

BP: How have your interests and your background shaped your experience at AU? AJ: I’m West African, originally from Senegal and Gambia. I also grew up abroad in Africa, specifically Zimbabwe and in Uganda. My mom used to work for the World Health Organization (WHO), so I have seen a lot of developmental work and how effective it can be at times. That’s why I came here to AU and pursued International Studies. When it comes to my involvement, I really do like being an advocate and spreading my culture and my interest, which is why I joined ASO. I remember being in high school and looking at American University, and seeing that they had ASO, so that has always been one of my main priorities. With the SIS

Undergraduate Council, I felt like I needed a way to be nvolved with my school directly. It felt like it was a very good opportunity to get involved with the Deans and to discuss things like regional focuses, because Sub-Saharan Africa is oftentimes under or misrepresented. For SisterSister, I felt that it’s important to have that kind of community and to harbor that space for other new incoming Black freshmen. I joined because I felt a little panicked since attending a PWI after going to a majority-minority high school, but luckily my mentor when I first joined as a freshman was a big help for me. So it’s special for me to be on the executive board and give back.

BP: What does the day in the life of Aisha Jallow look like?

AJ: Well, Wednesdays and Sundays are my study days. I have an e-board meeting every night from Tuesday to Thursday. As we speak, this week is Africa Week, so I’ve so far had an event every single night. I’m a little drained, but you know it’s worth it because honestly oh my god, especially with ASO, that is my baby. I’ve been involved with it since my freshman year and really just enjoyed the space we’ve created. Especially with Africa week, and just seeing the amount of people who come out to our events, it’s so nice to hear people seeing that the Black community is present. I also just like to have my alone time a lot because especially when you’re involved in so much, you’re surrounded by so many people on a daily basis. So it’s nice to just be able to sit in your room by yourself and not be bothered by anybody.

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12 BP: How do you find time to unwind and to practice self care?

AJ: Most recently, I’ve become a Tikok star. (@thirdcitygirl._ )So, when I study, I study in 25 minute increments with five minute breaks (which usually ended up being 15), and between those times I usually go on TikTok. I’ll scroll and I find sounds that are funny to me, and then I end up mass-recording with those sounds that I found. That has been my self care because I like making myself laugh, and I find that it’s making other people laugh, which is nice. Another way I unwind is definitely spending time with my friends. Luckily, the person my Co-President of ASO, Lulia is one of my closest friends at AU. So even at times when we’re working, it’s nice to also be able to sit and talk to her about things. Even though I am involved in a lot of things, I still have a lot of free time.

BP: What has been your most meaningful experience during your time at AU? AJ: My first positive experience was definitely the ASO Pageant in the fall of 2019. We’re hoping to have it next semester, but being able to see such a large, diverse African and Black community was really nice. It was also nice to see everybody enjoying themselves and having fun, especially because I was a part of the planning. Another experience would definitely be the ASO Welcome Back mixer. It was the first in-person event we had since COVID-19 sent us home in 2020 and it was just nice seeing so many Black folks in the room, and hearing them surprised about the Black community that they didn’t think was present, but it really is there. It’s just really empowering to be a part of an organization that’s harboring that space at a PWI because it can feel isolating going to school where there are so many white people.

BP: How do you hope to inspire your peers and what are your hopes for the African community, the Black community and Black women at AU in the years to come?

AJ: I hope that we keep the Black community strong.

The class of 2021 was just starting to rebuild those relationships with each other and I want to make sure those foundations that were built by that class remain so that people can feel welcomed and safe at American University because again, when we go to a PWI, it’s very easy to feel isolated. I hope that the Black community is safe

and established, so that students feel comfortable going to them when they need to find a place of solidarity.

BP: Where do you hope to be in 10 years?

AJ: Theoretically, I’d like to be working not in the United States. I want to follow my mother’s and grandfather’s footsteps, who was a High Commissioner for Gambia, and he worked in Sierra Leone.

My family really only came to America for school and then dipped, so I just want to do the same. I don’t know what I want to do, I’m definitely still thinking about it. I think in development work, even as a Black or African woman, white savior can still be an issue. I don’t want to fall into that, but I do know that I want to work in development.

Somewhere on the continent.

“You need to take a moment within yourself to ask, is this something that brings me joy? If the answer is no, then you shouldn’t do it. Everything I do, I genuinely enjoy it.”

- Aisha

Jallow

RONALDO BOLAÑOS

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THE HARMS OF “MISSING WHITE WOMAN SYNDROME”:

Black Communities Create New Spaces to Bring Back Missing Loved Ones B Y : J A S M I N E D E A N & C Y N TA S I A PA L M E R

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he case of missing 22-year old Gabby Petito has grasped the American public’s attention since the young white woman was reported missing back in September. While national media focused on meticulous details in Petito’s case, the Black community has not been granted the same amount of needed attention nor support for missing loved ones.

Petito’s case is an example of what many have called a classic case of “Missing White Woman Syndrome”, in which the media and public becomes hyper-fixated by cases of missing white women. This leaves missing Black individuals out of the public eye and denies them equal access to media attention that could potentially bring them home.

MSNBC Anchor Joy Reid addressed families on September 20 about the Petito case and further explained the impact of “Missing White Woman Syndrome” about the media’s tendency to solely report on white women who are missing while Black missing indi-viduals remain overlooked.

“The way this story captivated the nation has many wondering why not the same media attention when people of color go missing,” Reid said. “Well, the answer actually has a name: Missing White Woman Syndrome.”

Reid credited this term to late PBS journalist Gwen Ifill and stated it was used to describe “the media and public fascination with missing white women, like Laci Peterson or Natalee Holloway, while ignoring cases involving people of color.”

According to Statista, 182,548 Black individuals were reported missing in the United States during 2020. In total, although they make up only 13% of the general U.S. population, they account for 37% of the missing persons reported.

“We realize that people of color from around the country are disappearing, they’re not getting the media coverage, particularly national media coverage needed to bring awareness to their disappearance, and ultimately to find them,’’ Black and Missing Foundation (BAMFI) co-founder, Natalie Wilson said. “The PR Strategy or the plan is to get the media to care and then there’s a trickle-down effect because intense early media coverage ensures that the community is looking for the missing individual and that increases the chance of recovering.”

Wilson and her sister, Derrica Wilson, have been advocating for a change in this racial disparity for the past 14 years. The two founded the BAMFI in 2008 in hopes to bring awareness to the harm caused by the racial disparity in seeking justice

for missing peoples of color. Some other key aspects that influence fluence this disparity besides lack of national coverage are the role of law enforcement and the portrayal of missing BIPOC people by the national media.

As it’s currently formatted, minors who go missing are oftentimes classified as runaways and thus don’t receive an amber alert or any type of media coverage. Wilson highlighted now 15-year-old Relisha Tenau Rudd, a young Blackgirl who went missing in Washington, D.C. back in 2014 and has received little attention from the media. She also talked about missing two-year-old Arianna Fitts, who received little national media coverage compared to missing white children that captured the nation’s attention like Madeleine McCain and Caylee Anthony.

others in the Black community are also creating digital spaces to find missing loved ones who receive less public attention than white women. A group of New York parents for example teamed together to create the 911missing.org app to help search for missing children. The app was developed in direct response to the lack of national media coverage for Black individuals and other people of color. Rose Cobo, whose daughter Chelsea Cobo went missing five years ago, said in an article for Blavity that she hopes 911missing.org will help show why victims of color are equally important to their white counterparts.

“We are developing an app for smartphones,” Cobo said at a Manhattan vigil for missing women of color. “That thing that everyone has connected to them is going to be our power now.”

As for the adults, they are often subjected to stereotypes that minimize the likelihood of community members caring about their absence to society. Wilson said that they are often criminalized or viewed with suspicion by the While social media has provided a necessary space media, which lessens the chance of these missing adults and voice for missing Black individuals who otherbeing found. “Our missing adults are often stereotyped as wise might not be covered through national newsbeing involved with some type rooms, more work has to be of criminal activity. They are a The racial disparities in cover- done to provide equitable burden to society,” said Wilage of missing persons have justice for these missing son. “Or that type of.... deviant led to many in the Black com- persons by all parties such behavior is the norm for their as law enforcement and polmunity using social media as iticians. It’s also important community or their neighborhood. So what we’re trying to an outlet to garner awareness for the Black community to do is to change the narrative about their missing loved ones. remain engaged and aware around our missing persons.” of the stories of missing Hundreds of accounts dedi- Black peoples along with the The racial disparities in coverage of missing persons have led cated to finding missing Black issues they face in gaining to many in the Black comfair coverage by the national people have been created to munity using social media as media, regardless of whethmake up for the gaps across er there is a personal conan outlet to garner awareness about their missing loved ones. platforms such as Facebook, nection or how big the case Hundreds of accounts dedimay seem.

Instagram and Twitter. cated to finding missing Black people have been created to “It takes all of us; law enmake up for the gaps across platforms such as Facebook, forcement, the media and the community to get Instagram and Twitter. involved to help us find and bring awareness to our missing,” said Wilson. “I mean we’ve been down Wilson talked about how her organization has used social this road before--the story died and we moved on, media, first beginning on Facebook and Twitter, where and here we are back at it again. So let’s continue to they were able to gain attention for many cases of missing have the conversation and bring about change.”

Black individuals. BAMFI now favors Instagram according to Wilson, where they’re able to engage and connect more with the community. “Social media again is very vital because we have control of it and we don’t have to wait for the news cycle,” said Wilson. Similar to BAMFI,

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MICROAGRESSIONS COMMUNITY LESSONS

&

RONALDO BOLAÑOS

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BY: CHRISRAINE GILPIN

17 Around 6 P.M. on November 12th, I made my way towards a roundtable Q&A-style discussion between myself and three other students of color. As I headed towards the agreed-upon meeting place, I found myself struck by how many white faces I passed along the way. I couldn’t help but think about how when I first got to this school, I used to keep a mental tally of every Black person that I saw...and I remembered how for the entirety of the first week that number rested solidly at six.

It certainly wasn’t a surprise to me at the time. I knew what I would be getting myself into when I agreed to come to school here. However, the fact that I expected it didn’t make it sting any less.

The students I would be interviewing were three first-semester freshmen students all living in Black Affinity Housing at Roper Hall: Nadine LeeSang, Nicole Jean-Pierre, and Isysis Shaw. I wanted to talk to these three students about their experiences as students of color attending a predominantly white institution, (PWI.) Chrisraine Gilpin (CG): In going to this PWI, have you had a mostly positive experience so far, a mostly negative experience so far, or an experience that is somewhere in the middle?

Nadine LeeSang (NL): I would say my experience has been somewhat in the middle. This school is very performative. White people act like they care but at the end of the day lots of them don’t really care.

They just want to seem “woke”. I think what really bothers me the most is that when I’m talking to white people about anything, say my hair for example, and they’re just unaware that people have experiences different than their own. They speak as though the way they act and react in certain situations is the only valid way to do so. It’s not. Certain people do certain things differently than you would, or have certain expectations that are different from yours based on their differing experiences. A lot of the white people here don’t understand that.

Isysis Shaw (IS): I would say it’s somewhere in the middle. White people are unaware of how much space they take up here. I’ve had so many white people just walk into me as if I’m invisible. I feel like I’m a walking ghost. Yesterday was my breaking point where I had a visible breakdown over it, yet five different white people just walked past me like I wasn’t even there. Minorities are invisible here.

----I nodded along at Isysis’ words. In fact, I had experienced the exact same thing during my walks around campus. I had been bumped into countless times in the first week, and I soon found that it was just easier to just move and avoid the unpleasantness altogether.

The third student, Nicole, despite saying that her experience at AU had been mostly positive, had something poignant to say on the “walking situation.”

Nicole Jean-Pierre (NJ): With white people walking, bumping into you like you’re not there; don’t make space for them. You are present here, you go to school here too. The sidewalks aren’t just for them.

Listening to Nicole’s impassioned words, I made a mental note of thinking twice before I simply resigned myself to moving aside the next time a large group of white people expected me to move out of the way.

Then I asked my next question: CG: Clearly, you three are familiar with the challenges attending this university can bring. What do you find to be the most challenging part about going to a PWI? NJ: I went to a predominantly Black high school so I was around people who looked like me all day, every day. So going to a PWI has been a rough change. I feel like I have to take extra steps to prove myself to white students, which is wrong. We both filled out the same application to AU; I shouldn’t have to do more

18 to show that I’m worthy of going here.

NL: Unlike Nicole, I went to PWIs for most of my life; this place is just like my hometown. At clubs made specifically for minority groups, I can find people who look like me and have similar experiences as me, but I can’t just find those people randomly. I have to take that extra step and that’s what I find to be the most challenging part about going to school here. If I was white, I could just go to TDR and find someone.

IS: The most challenging part about going here for me has been realizing how much easier certain people’s lives are because they’re white. The amount of things that I’ve heard so far about being profiled as a minority or a Black person here on this campus or even within the classrooms is ridiculous, and it’s becoming more clear to me that a lot of the white people here don’t realize how privileged they are. A lot of people here don’t realize how unstunted their education is because they are white.

----“That’s a really good point.” I said. “There is definitely a huge amount of privilege that I see on a daily basis on campus. Even something as simple as having a person of color say “Oh, IB courses weren’t offered at my school.” So many white people are shocked and they ask “How could you not have IB classes?” There’s a real disconnect between those people and the lived experiences of many of the students of color on campus.

However, this is something that I expected to see coming into this PWI as a person of color. Were there certain obstacles that you all expected to face in attending this PWI?” NL: I expected the white people here to not understand racism, and I was right. I always go to my AUx class for example, we’ll talk about racism in academia a lot and the white people say things like, “Oh yeah I just think it’s so baffling that so many professors will say racist things, I guess you just don’t expect that because they’re in positions of power.” Well, I expected that! I’m never surprised that someone did or said something racist, but white people are always surprised by that.

IS: There is an overarching idea in liberal areas that if you call yourself a liberal that means you’re not racist.

That’s not true. Not being racist and being anti-racist are two completely different things. By white people here not taking steps to be actively anti-racist, they are doing exactly what I expected. They live in this area, they go to the most liberal school in the United States, say Black Lives Matter, they post a black square, and think that’s enough. They think that by doing those things, they’ve cured racism.

NJ: The challenge I expected to face is the socioeconomic divide at this school; more than 70% of the kids that go here pay their tuition in full. It’s just something that makes you think. There are kids here who are really rich rich.

------“Definitely,” I agreed. “Some kids are being super strict about how much they budget for each month, meanwhile the rich kids treat every day like Black Friday.”

We all laughed at that. Then, I moved on to my next question.

CG: I want to switch gears now and talk about some positive experiences. Tell me, have there been any instances where you found community at this school?

NJ: “Definitely,” I agreed. “Some kids are being super strict about how much they budget for each month, meanwhile the rich kids treat every day like Black Friday.”

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IS: I agree with Nicole. Once I found my people, they stuck close to me, whereas the friendships my white classmates have made seem to flow in and out like waves. The friendships I’ve made have stayed solid because we all at the end of the day have the commonality of being Black at a PWI. NL: Even when I’m walking around the quad and I see another Black person we give each other that look. I’ll just wave to a random Black person and I don’t even know them. I feel like there is an unspoken bond that we will always have; I think that’s one of the best things.

-------This too, was something that I could relate to. The solidarity these three were describing had been my one saving grace in attending this university. Still, I wanted to end the conversation on a hopeful note. A glimpse into what could be better days for our school. So, I asked my last question: CG: What can AU do to make itself a more inclusive space?”

IS: AU needs to do a better job of supporting their staff. Also, there needs to be more affinity housing for the minorities. Lastly, AU needs to make sure that when it comes to the people who manage the affinity housing, there are enough people of color who are having their needs taken care of so that they can then speak to our needs as POC. NJ: AU needs to add more affinity spaces into its classrooms and into its housing, and they also need to stop relying on students of color to teach their peers about racism. That’s not a burden that students of color should have to bear. Also, the university needs to reach out more to its surrounding community in DC, especially because DC has such a large black population. AU, you need to stop being performative and start practicing what you preach; get out there and be active in the community.

NL: I think there needs to be more of a bridge between certain communities of color at AU and the rest of the AU population that is majority white. I cannot tell you how many times there have been white people who say “Oh where’s Roper, I don’t know where that is.” Or they say “I don’t know what the Blackprint is, I don’t know what this organization is,’’ and they are mainly cultural organizations. Even if white people don’t necessarily participate in the organizations themselves, they should still know about them and their missions, and the fact that they don’t can honestly be a little isolating. People here don’t seem to realize that there’s a difference between diversity and inclusion. A lot of times I think people here use the two words interchangeably. The truth is that AU has some diversity, but not enough inclusion. Because we have people of different backgrounds here, but they’re not really included in the main conversation, and their views aren’t considered when it’s time to make changes.

That’s not okay. In fact, if AU never corrects this, then AU will never be an inclusive space.

------Clearly, AU has a lot of room for growth when it comes to delivering on their advertised promise of inclusivity as opposed to mere diversity. However, like Nadine LeeSang, Nicole Jean-Pierre, and Isysis Shaw, I have hope that things will get better. If AU starts to listen to the voices of it’s people of color, and takes steps to be actively anti-racist, I believe that we as a community can arrive at a better place. But it takes two to tango. The big question is this; Is AU willing to tango with us?

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“African Americans don’t belong nor exist in fantasy stories.“

“I’m a lesbian so I’m more gay than you.”

- Said to a bisexual person

“Your curly hair isn’t professional, it’s distracting so you need to pin it back to prepare for your interview.”

- Said by an AU Staff Member

P OB E R L

THINGS OVERHEA

“His dick was big for an Asian person. And it’s okay to say that cause it’s true that Asian people have small dicks.”

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“There was just something about the the tone of voice in Eloquent Rage that made me uncomfortable.” - Said by a white person

I M E A T C L

ARD ON CAMPUS

“Can you give me some restaurant recommendations? I’m really into that weird ethnic food.”

“I don’t invite Black people on trips, because most of the time they are too poor to come along.”

“This girl says the dumbest things in class all the time and the only reason the professor agrees is because she’s Black.”

V O R L TE T L O E V L T- E E R L TTE N E E L - GN E T U S G T SFIR EN G N E 22

LOVE LETTER TO FIRST GENERATION COLLEGE STUDENTS

Dear student,

Congratulations! You’re the first in your family to attend college! I’m so proud of how far you’ve come and you should be too.

It’s no secret that college can be strenuous in all aspects. Learning how to balance academics, a social life, and a job while also checking in with and helping family can take a toll on you.

As first-gen students, we are navigating a system that wasn’t created for us. A system that only seeks to foster the success of white students with generations of wealth backing them. I want to remind you that despite this, you belong here and you shouldn’t doubt your abilities for one second.

The pressure to get everything right is so real. Being here is like an unspoken responsibility as your success will grant opportunities to your family and generations after you.

It’s impossible to be perfect at all times, and honestly, imposter syndrome is a bitch. I don’t think I’ve ever completely gotten rid of it but what I can tell you is that it’s so important to find your community on campus. People who understand you, share your experiences, inspire you and make you laugh.

Personally, coming to AU was my first time being surrounded by people who didn’t look like me or shared the same experiences I do. The drastic class differences and differences in lived experiences still never cease to amaze me.

It feels impossible not to compare yourself to other students sometimes. It’s so easy to feel like you aren’t doing enough just because you’re hearing and seeing so many students get internships or land positions you want to be in. When you feel like this, I need you to remember you have your own journey and path to follow; that is the only thing you should focus on. Getting discouraged and distracted by other people’s accomplishments only deters you from your own.

Although you might be going through this journey alone, always remember you have support and love from your family, who are so proud of you. Whether they say it or not doesn’t matter because they definitely brag about you to their friends all the time.

No matter how much you grow and gain access to spaces that are usually restricted from your community, never forget where you came from and the power you have. Your success is so much bigger than you. Think about the generations following you who will have a much easier experience navigating these spaces because you cleared the path for them. You got this. Keep working hard because you’re a trailblazer and a true inspiration. Your younger self would be so very proud of you right now, and honestly, that’s all that matters.

L ove,

Festicia

E N N N

E

WHAT DOES YOUR FUTURE HOLD?

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AU EXCELLENCE:

RONALDO BOLAÑOS

M A L I K

GOMES CRUZ

Dancer to Dancer: A Q & A with Frederick Douglass Distinguished Scholar & Dance Artist Malik Gomes Cruz BY: SYDNEY HOUSTON

THE BLACKPRINT: How are you involved on campus?

Malik Gomes Cruz: So I am a Frederick Douglass Distinguished Scholar, and I’m also on the e-board of AU Pride as the coordinator for queer trans Black and indigenous people of color, and obviously I’m the most involved with the dance program as both a dancer, choreographer, and overall just a general program member, I try to help out in the dance program wherever I can.

BP: What does LGBTQ representation mean for you? In both academics and dance?

MGC: It means visibility or the idea that I can walk into a space and see myself reflected in the material that I read and the people in the space like I think often of superficial representation in the sense that we say we’re inclusive, and you can say as much as you want that like these voices are welcome but if it’s not reflected in the practice, then it doesn’t mean anything at all. If I can’t go into a literature class and have a queer author being a part of the syllabus then it doesn’t matter. Representation means seeing and hearing those voices in whatever fashion by the people in the space.

BP: What brought you to dance?

MGC: I like to call it a happy accident because I came into AU without the intention of becoming a dance major or to dance. But I decided to dip my toes into a west African class. I had heard from one of my friends because I was looking for classes to take and they invited me to take it with them and I was ushered into the dance program via that. I got to know the people and the faculty and knew I had to stay. It was a place that I felt the most challenged and also the most welcome in that space.

BP: How do you find the balance between all the work you do?

MGC:Very good question, a thing that I think I’m still working on, it’s kind’ve.. I ask myself this question: in five years from now will the decision that I make today impact my life in a major way? and if the answer is no then that’s room for me to take care of myself in the moment. Will not doing this assignment right this second impact me significantly tomorrow? If the answer is no then I try to take the moment to rest. Also knowing what to say no to and taking part in as much as I can authentically and with full purpose.

BP: How have your interests shaped your AU experience?

MGC: The things that I’m interested in you know, learning about the Black body, learning about movement as a tool, and also as the way that Black people find liberation. That is the work that I do in my research and I feel that it is the way that I can blend the people I surround myself with, the classes I take, the clubs and events, etc that I take part of that are centered around the body and centered around blackness, and so my interests are my experiences and it can be difficult to know if I’m doing this for fun, for myself or is it just a part of the thing that peaks my academic way but I’m okay with it being both, it doesn’t feel like I’m doing too much.

BP: What does a day in the life of Malik Gomes Cruz?

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MGC: Oh boy well, I wake up around 8 in the morning, I am never on time to my 9:45 classes. That’s okay with me though living off-campus and commuting is a struggle in itself. After classes, I usually study with friends in either The DAV or the Bridge depending on the vibe. Next are more classes, really I’m interested in my dance pedagogy class and African American Lit. I then have rehearsals as a choreographer for CHOREOLAB this semester. Trying things with my dancers and being with them enacting my vision, putting things on bodies is really fulfilling. Then, after rehearsal I head home make myself some yummy dinner, I love to cook, and then I go to bed and wake up and start again the next day.

BP: How do you hope to inspire your peers?

MGC: I hope to inspire my peers through my actions I think often about enacting rather than talking. It’s very easy to talk it’s very easy to say a lot of words, particularly in the social-political context were in now. Everyone loves infographics, we really love to say things about change or voice our frustrations, and that’s a great place to start but it’s the doing of those that really matter. It’s what I try to do. When I choreograph my work it is the actual practice of developing the methodology for visibility of Black truth and the Black experience. And I can say that I have tangible work that speaks to doing that. I can do this beyond my time at AU going into communities to know who I’m inhabiting space with and I hope that by acting out those things my peers can see that making change comes from going out to enact the ideas that you are speaking about outside of the AU community.

BP: Biggest lessons learned in the last year of online school, quarantine & everything else constantly happening in the world?

MGC: The biggest lesson I’ve learned is to allow myself space to simply exist. I don’t always have to be doing something profound, that I can just simply exist, and that in and of itself is radical in the context of capitalism and the emphasis on doing and producing work. Sitting and being with your thoughts allows us to recalibrate and think about the next thing and next steps. If we don’t give ourselves the space to sit and think and reflect we are doing ourselves a disservice. My favorite quarantine activity became putting on my headphones going outside on nice days and listening to some D’Angelo while walking. In doing that I was taking the time for myself to reflect reorient and experience my environment being present.

BP: What do you hope to see for Black AU dance students in the future?

MGC: Well, one I hope there’s more of them, I love that we have diverse professors that teach us and I want to see that as well in the student. I want them to be able to do the research that is interesting to them, not be limited and have the capacity, space, and resources to do that. For them to imagine and produce the ideas they come up with without restriction.

BP: The theme for our zine this year is “The Future Looks Like Me,” referring to how we as Black students and students of color are still recovering from the pandemic, and more importantly how we’re looking towards a brighter future, one in which we can survive in. What does recovery from the pandemic and looking towards a brighter future mean to you?

MGC: Recovery and trauma are not things you can check off in a checkbox, it is ongoing, the pandemic, in particular, has changed the way we move. As a people, as a society, as Black people, it has changed and altered our movement, and as a dancer that is something I pay attention to a lot. It changed the way we thought and interacted with one another seeing now how we foster community and connection as it is not the same as we did it before. I think Black people have a unique ability to dream radically and expansively and thinking about who we are becoming and that reflects in our art and movement as usherers of change.

BP: Where do you see yourself in 10 years?

RONALDO BOLAÑOS

MGC: Oh my, in ten years... that’s a long time. I have to imagine myself as a 30-year-old person what am I doing? Scratch that who am I? I say I am always in the process of becoming myself. I’m me and equally striving to become me. In ten years I envision myself happy and content, creating work. I always want to be creating. I always want to be serving Black queer people, especially creatives and people who have brilliant ideas don’t necessarily have the resources to enact it. In whatever fashion that is I hope it provides Black queer people the space, time, and energy to enact their own radical ideas.

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I

Wish My

Mother UPNEET KAUR

Had

Hobbies BY: GRAVIELA HERNANDEZ-SOSA

I wish my mother had hobbies. Maybe then, the migraines will deflate, the shouting will quiet, and the resentment will withdraw.

I wish my mother had hobbies. Only then, can we stray from heartache, look at each other without contorted mouths, without an inkling of expecting more from one another and simply exist within confined spaces.

I wish my mother had hobbies. Even if it’s simple as strutting her delicately yet beautifully aging body through the falling November leaves awaiting a warm cup of coffee at home next to a book filled with words she can’t read, without a care in the world as I see many mothers do on my morning runs in my own curated world of chaos. Perhaps, that’s why we drift apart in our arguments, where we turn our backs or shut our ears in our yelling. When we reach that point of giving up in trying to understand and settle in our echoes of silence and dread.

Walking, reading, biking, cooking, watching, drinking, eating, sipping, jumping, meditating, fails to wedge in the life a woman whose time is tied with and whose actions are matched with- long hours of labor from her time in vast landscapes, retrieving drinking water from rivers, feeding cows, chickens, horses, pigs and bulls, to spending her adolescent dodging bullets and enduring warfare; escaping, protecting, and running all while growing, to the absolute unthinkable of entering a world without her beloved and short-lived brother, whose soul was snatched in the midst of darkness and in the streets of her new so-called home.

She walks. Walks miles and miles, 6 days into the weekend, through the halls of what she’s always known to earn. She reads. Reads pages and pages of endless orders, calculating and computing in her evenings. But, most of all, she cooks.

A twisted and disturbing web of peace, nostalgia and pain. She cooks for the mouths she feeds, for the mouths she can only blindly hope are optimizing on the education whose own Intricacies are foreign to her as the torn but adequate clothing she wears, and the diet she affords. And despite, in spite of the obligation and moral duties she’s ingrained into her brain, I still wish. I still hope.

Because I refuse to believe, refuse to accept, and ease to complacency that choosing to surrender her militaristic routines, for the greater and long term of her own happiness cannot be done without disrupting her sanity. I wish my mother had hobbies simply, so she can taste the sweetness, hear the melody, smell the saltiness, and see the horizon of what I’ve had the privilege of knowing to exist - peace. The life before the sometimes burden but mostly bundle of joy me, who’ll spend her time scrutinizing and shamelessly correcting her actions and deafening her mother’s ears with apologies for a mother’s life before her child, is a life unexplained, that demands compassion as water coats her mother’s eyes. For a mother’s past is what necessitates a daughter’s duty to dance the line to behave and respond to the world for that of herself and on behalf of those unforeseen sacrifices from her mother.

Mom, on behalf of our future, and your well-being, please search for peace. For peace is what breeds bliss.

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C

AT GOT YOUR TONGUE?: BY: DAISY ARANHA

Out of all the female characters in the DC comic universe, Catwoman is easily one of the most notable. The reason people are so intrigued by her is that she’s an intense and gritty antihero who goes from being the complete adversary of Batman to eventually changing her behavior. She does bad things, but she does them for the right reasons — and there’s something endearing about that.

Catwoman is an integral part of the Batman franchise in DC comics. When she doesn’t go by her pseudonym, she is also known as Selina Kyle, a jewel thief in Gotham city. Catwoman made her comic debut in Batman issue number one in 1940 as Bob Kane and Bill Finger sought to give Bruce Wayne a romantic love interest that would somehow fit in Gotham City. Over many years the iconic character has been played by a number of actresses including Julie Newmar, Eartha Kitt, Michelle Pfeiffer, Halle Berry and Anne Hathaway.

Most recently, it has been announced that Zoë Kravitz will be portraying her in the upcoming Matt Reeves adaptation of Batman alongside Robert Pattinson as Bruce Wayne/Batman ahead of its upcoming release in March 2022. Kravitz’s casting as Catwoman is substantial considering she is a Black actress. For decades, Catwoman was portrayed by a handful of white actresses, and most recently Anne Hathaway in Christopher Nolan’s Dark Knight Rises.

While it is notable that a Black actress will be playing Catwoman, it is worth noting that the racial barrier of the character was broken over 50 years ago, when Eartha Kitt played Catwoman in the series adaptation of Batman in the 1960s.

By this time, Kitt was a worldwide sensation in Hollywood known for many films and a sensational music career, gaining international acclaim. This was in 1967, and there were no women of color at that time wearing skintight bodysuits, playing opposite a white male with sexual tension between them. This was a truly important moment in film history as Kitt was one of the few Black women at the time — along with Lena Horne, Dorothy Dandridge — who were allowed to be sexy, without being stereotyped. It does take a village, however, Kitt was definitely a trailblazer.

For young Black girls, Kitt’s casting served as important representation as they were able to see themselves on television, and especially as a character that was so alluring, independent, confident and oozed with sex appeal.

It was a time where Black girls and women could see themselves in a different light, and Kitt’s portrayal has had a lasting impact as it led to more Black women being cast in the role, like Halle Berry in the namesake spinoff and now Zoë Kravitz. When she starred in Catwoman (2004) Berry said in Collier, “When I first saw Eartha [as Catwoman], I didn’t know what it meant, but I knew it was important and that I connected to it and felt good about myself after watching her… . I’m reviving something she originated.”

Kitt’s impact was so crucial given the time period; 1960s America, in the height of the Civil Rights Movement and when segregation and racial injustice was at its peak, Kitt’s Catwoman became a dubious mixture of protest, racial inclusion and post-racial cultural politics. When her casting was announced television network affiliates in the Southern states were outraged. Fitzsimons and the other producers however didn’t care. But they did agree that the romance between Batman and Catwoman had to end. The next woman of color to play a live-acti-

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THE PURRRFECT EVOLUTION OF GOTHAM’S FAVORITE FELINE on Catwoman was Halle Berry, in the box office bomb of the same name. Although Halle Berry can acknowledge the negative criticism she received after starring in 2004’s Catwoman, she’s still revered as one of the most unforgettable to play the role.

“In the last Batman movie [The Dark Knight Rises], they told me that I couldn’t get an audition for a small role they were casting because they weren’t going urban,’” she told Nylon.

It is not common to have such diversity and Black representation in comic books and superNot many people are aware of this, but Sanaa hero franchises as many superhero comics were Lathan is also amongst the Black women who written in the 1940s. Black characters weren’t have graced the screens as this iconic characintroduced into comics until the late 1960s. ter. Although we don’t get to actually see Sanaa Stan Lee and Jack Kirby’s Black Panther is often Lathan‘s face as Catwoman, we do get to hear her credited as the first Black superhero, debuting voice. She voices the in Marvel’s Fantastic As superheroes are meant to inspire character of Catwoman Four #52 in 1966. The the hope that someone will stand up to fact that Catwoman was in the animated series Harley Quinn (2019) do the right thing, and to embody the written and portrayed in its second season. potential of humankind, it is important originally as a white Lathan’s character still character, and has been for Black girls and boys to be able to see serves as representation portrayed by Black themselves represented in these roles. women for the past as Catwoman is portrayed as a Black wom- That is what makes the tradition of Cat- few decades is such an an in the series, which woman portrayed by Black women so important development creators Justin Halpern, for representation for powerful, and the casting of Zoë Kravitz Patrick Schumacker and Black girls especially. A continues that tradition.

Dean Loren said that lack of Black representhey made this decision tation in the superhero in order to diversify the series. genre has created an aperture for many Black fans, as they could not connect nor see themAdditionally, before Naya Rivera’s tragic passing selves as the superheroes being portrayed. in 2020, she did a bit of voice acting. Prior to the death of the actress, she voiced the character of As superheroes are meant to inspire the hope Catwoman in Batman: The Long Halloween Part that someone will stand up to do the right 1. Her voice acting role as Catwoman is the last thing, and to embody the potential of humanofficial project she was part of before she passed kind, it is important for Black girls and boys to away. be able to see themselves represented in these roles. That is what makes the tradition of CatZoë Kravitz is no stranger to Batman, however. woman portrayed by Black women so powerful, Back when they were casting The Dark Knight and the casting of Zoë Kravitz continues that Rises, Kravitz said she was turned down for a role tradition. because she’s a woman of color.

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ZOLEE GRIGGS AN EXCLUSIVE INTERVIEW WITH

B Y: F E S T I C I A B O V E L L Zolee Griggs is making her mark in the entertainment industry one role at a time. The L.A. native is known for playing the role of RZA’s on screen sister, Shurrie Diggs on Wu-Tang: An American Saga, Hulu’s hit show that follows the story and formation of the notorious rap group Wu-Tang Clan. Griggs also played the role of Indigo in Archenemy, a comic-book-inspired film directed by AdamEgypt Mortrimer. With so much more in store for her future, Zolee Griggs is a name you’ll want to remember. the 22-year-old star sat down with The Blackprint to discuss her growth as a young actress, her dedication to community building and the value of mentorship.

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THE BLACKPRINT: Prior to your recent roles, I know you were on Cory In The House back in 2008 and even more recently you starred in the movie Archenemy. But when it comes to your role as Shurrie Diggs on WuTang: An American Saga, what makes this different than any other role you’ve had?

ZOLEE GRIGGS: Shurrie is young and vulnerable and she’s got the support of her family behind her whereas in Archenemy where I play Indigo, she lost both her parents and she didn’t have the support of her family; she did have the support of her brother but she was more of a mother figure. Even though she (Shurrie) is seen as a caretaker, she gets to be more soft more feminine in those roles whereas the other projects I’ve done they’ve been pretty badass and the stakes have been a little bit higher. The situations that those characters have gone through have been a little scarier. Then, of course, Corey in The House was just a complete 180 because I was an 8-year-old so from 8 to 21. It’s a big growth and difference.

BP: So WuTang Clan is one of the most influential rap groups in history, and you all are telling the story from RZA’s perspective; what was it like working with him and is there anything new you learned about him and the group while filming?

ZG: RZA is really inspiring to me because he just thinks outside of the box. You can see in season 2 how he allowed the group to sign but all of the members to also be individual in a time where we didn’t have our own record labels, we still don’t have that many and people don’t own the rights their own music. I love how pro-Black RZA is. The knowledge that most I would say native New Yorkers have is so enriched in who they are.

BP: I know the show was shot in New York, but you’re from L.A. I’m from Brooklyn, N.Y. So I just have to ask, what was New York like for you?

ZG: So I love New York, it has a special place in my heart, but every time I go, I still have culture shock that so many people of color live there onsidering how cold it is, I can’t do it, being from L.A., where it’s constantly 70 degrees. So moving to NYC in the dead of winter, in the middle of a storm, every time, I was just blown away. But besides that, the culture in New York, the richness, all the different, ethnicities and boroughs are so cool. I’d say spring and summer are the most fun, of course, because

everybody is outside. Everybody congregates anywhere in the street on the stoop, rooftop, like, that’s so much fun. We don’t have that similar feeling in L.A. because it’s so big. It’s so spread out.

Everybody has to drive. Even the fact that you guys just walk everywhere and get on the train. I love L.A. for reasons, and I love New York for separate reasons. I appreciate both cities for what they have to offer.

BP: As the only two women on the show, what was it like working with Erika Alexander?

ZG: Erika is an amazing mentor, she’s so easy to just talk and she’s frickin’ hilarious. So it wasn’t hard to have the mother-daughter dynamic because it was kind of fun to be sassy with her. I learned a lot from her on set because she was acting around the same age as I am and we get to see the difference between our experiences. When Siddiq Saunderson (who plays Ghostface Killah) and I had our intimacy scene, she was telling me how they didn’t even have something called the Intimacy Coordinator back in the day. It was just like, pop a breath mint in your mouth and get to it, you know, which can be really uncomfortable.

So hearing her advice on things like that and then just like getting her perspective on what it means to be a well-rounded actor, a well-rounded artist in general is very valuable. I take what she says, and the advice she gives very seriously,. I feel good knowing that I can text or call her and have somebody so iconic close to me.

BP: I want to shift gears to your life outside of being an actress. Last summer, you opened up a community Grab and Go in Inglewood, CA. Tell me a little bit more about what your inspiration behind that was.

ZG: I was inspired by @alt_ chicago on Instagramin 2020. During quaranting they had put up shelves that looked like an outdoor storefront. They explained, it’s a free ‘grab what you want, what you can like,’ donation center to the community. I reached out to them and I was like, this is amazing, I love what you’re doing and I want to do the same but I’m all the way in L.A. They loved it so, I got together with my friends and family. We mapped out locations, what it was going to look like and how it was going to work. I feel like the community received it really well. People were constantly using it, constantly donating. We have a homeless crisis in Los Angeles. So it was being used beautifully,

35 but also, on the other end of that, because we have a homeless crisis, the city just didn’t like that it was attracting so much attention. It actually became like a health hazard or a street hazard because people were over excessively dumping, unfortunately. So, the city did shut it down at the top of 2021, which broke my heart. But it was still a great experience. I would love to do it again, but the kinks would have to be worked out so that we could work together rather than the city feeling like I’m putting more work on them.

BP: You also have a mentorship program that you founded called Grl2Women. What was the inspiration behind that and how important is mentorship to you?

ZG: In high school, we had a program called Sister Circle where the high school girls would mentor the middle school girls. That really inspired me because I’d always wanted a sister or mentor, somebody who was close in age. So when I was 19, I was like, I want to do the event. You know, I’d done community service projects and things like this in church and school before. So, I have the capacity to do it now. I was fortunate enough to do my first Grl2Women event, and it was so much fun. We had brands come and assist, which was extremely helpful. We had amazing panelists. Shannon Boodrum, Amanda Gorman, who’s alumni from my high school as well and we had Salem Mitchell, the model. We just had all these successful young women come in and talk about their perspective on being career-oriented, goal-oriented, or even just what it was like for their dynamics in relationships or whatever it might be. I really want to continue this mentorship because I feel like the transition from middle school to high school is so big. 11 to 13 is such a weird age for anybody, but especially young women. I want to focus on young girls because I know what it was like.

BP: Speaking of mentors, who do you look up to in your personal life and in the entertainment industry?

ZG: In the entertainment industry, I’d say Issa Rae, because she is doing it all. She created her own lane. She’s authentic to herself and she’s making amazing strides. When I think of women in my life that I look up to, my mom, my aunts and my grandmother. I wouldn’t be who I am today without them. they are just outspoken, powerful women who

encourage me to continuously do the same. So yeah, shout-out to Issa and my family.

BP: What would you say is your dream role? Is there a specific genre that you would like to be a part of in the upcoming years?

ZG: I would love to play Erykah Badu in a biopic about her life. I love her. I’ve always looked up to her. I’ve always listened to her music. She’s just so inspiring. I would love to do voiceover work because I love adult animation. That would be really fun just because you can do whatever in a cartoon. There are no limitations. I’d also like to do comedy as well. Like... I think I’m pretty funny. Everything will come when it’s time.

BP: What advice would give to young women who are interested in entering the entertainment industry or any general life advice ?

ZG: Always be authentic to yourself. You don’t always have to rely on the opinions of your family, your friends, just any naysayers or anything like that, because sometimes we want encouragement from the ones closest to us, but they might deter us from what we really feel inside. If you’re not true to yourself, you’re betraying yourself and you won’t be fulfilled.

If it’s something that you want to go after, do it. You might not even know how it’s going to come true.

Don’t worry about that. Write it down. Vision board it out. Pray about it. Talk about it to yourself. Write whatever it is. But it’ll come to fruition as long as you’re being authentic with yourself and don’t even shrink yourself for anybody else, either.

BP: Where do you see yourself in 10 years?

ZG: I see myself still, of course, in the entertainment industry. I think I will have created my own TV show or movie or something by then, I hope to have my own production company, I hope to also dabble in music even if it’s making music just like doing something in that realm. I love music so much. I also am really trying to work with the Los Angeles Unified School District (LAUSD) in reforming our school system here in Los Angeles. In 15 years, I’d like to do the nation because I feel like the way our school system is just whack. I would love to do something in all those lanes because I feel like I am forever going to be at service to the people, to the community, those who look like me and those who don’t. I’m trying to open those doors for people and I want to bridge the gap.

This interview has been edited and condensed.

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WHOLE LOTTA LOVIN‘ PLAYLIST

ME, MYSELF, AND I

We Outside | Duckwrth Way 2 Sexy | Drake & Future Coastin | Victoria Monet

CATC H I N G F E E L I N G S

I’M IN LOVE

Make Me | Teedra Moses Pressure | Ari Lennox Wild Side | Normani

After Last Night | Silk Sonic Right Track | Syd & Smino Slow Down | VanJess Lucky Daye

THE BREAK UP

Lost You | Snoh Aalegra Ur Best Friend | Kiana Lede & Kehlani Aura | Mariah the Scientist

You Right | Doja Cat Yonaguni | Bad Bunny I Must Apologize | PinkPantheress

Pick Up Your Feelings | Jazmine Sullivan No Love | Summer Walker & SZA Drones | Terrace Martin, Kendrick Lamar & Ty Dolla $ign

F*** U I MISS U

NO LOVE

KNOWING MY WORTH

Headshots (4r Da Locals) | Isaiah Rashad I Deserve | Smino Woman | Little Simz & Cleo Sol Found | Tems & Brent Faiyaz

B Y: A M I R A T R I P P - F O L S O M

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LOVE RENAISSANCE: THE FUTURE OF THE MUSIC INDUSTRY Love Renaissance (LVRN) is an Atlanta-based and Black-founded record label making a name for itself like no other. The label was founded in 2012 by Tunde Balogun, Justice Baiden, Carlon Ramong, Junia Abaidoo and Sean Famoso McNichol while they were students at Georgia State University. Since its inception, LVRN has sat at the forefront of fostering cultural bonds for the up and coming generation of hip-hop and R&B. The label has managed to cultivate an impressive list of signed artists. In 2013, the label signed their first artist, ATL rapper, Raury. By 2016, they added two more artists to their roster: DRAM and 6LACK. In 2017, the label landed a distribution deal with Interscope Records and launched LVRN Studios, a creative recording space in Atlanta. In November 2020, LVRN released its first-ever holiday compilation album, “Home for the Holidays,” which features nine tracks from LVRN artists. The label is currently home to artists like 6lack, Summer Walker, BRS Kash, Westside Boogie, DVSN, Shelley FKA, Kitty Ca$H, and other promising artists.

The concept of “Love Renaissance” came from co-founder Justice Baiden’s belief that there was a lack of love within our generation. With the return of gangster music and the emergency of trap music, Justice explained that he felt the concept and idea of falling in love wasn’t appreciated. Love Renaissance set out with one simple goal; to make it cool to be in love again. The LVRN brand seeks to bring balance and love into the music industry. LVRN doesn’t solely focus on their artists’ music; they want listeners to fall in love with everything the artist has to offer.

LVRN’s most recent album was Summer Walker’s sophomore album, Still Over It. And well, I am nowhere near over it; the album is pure gold, and the rollout was magical. LVRN launched the Summer Walker album roll out on the two-year anniversary of ‘Over It,’ and it just so happened to still be #1 on Apple Music’s R&B Album chart two whole years later. Announcing the 2nd album on the anniversary of the debut album is one thing, but the video content and the Instagram page一 simply just fantastic marketing.

LVRN isn’t defining itself solely through music. The bigger picture and plan of the label goes well beyond the music industry, revealing recently that they plan to expand their craft into the film and TV industry.

In an interview with Rolling Stone Magazine, co-founder Sean Famoso discussed the label’s plan for their next project. “A couple of years ago, we had an idea to start writing a show. The reality is that we live a really crazy life,” said Famoso. “The five of us are all either first-generation Americans or immigrants — Junia was born in Ghana, and so was Justice — and we have a really unique perspective on our upbringing in the entertainment industry. We started slowly putting the show together.”

Famoso said in the interview that LVRN has since struck a big deal for the show and they’re currently in the pre-production stage now. The other co-founders have gone onto work on other big projects as well, including scoring an FX documentary. “Music is only the catalyst for everything that we really want to do, and we let it score all of our movements, but our mindset is a bit bigger than just the music industry,” said Famoso.

Like with everything LVRN does, the concept and purpose of the show is to elevate Black voices and Black stories. The co-founders explain that the anticipated show promotes Black identity as a social currency and depicts the journey of using one’s Blackness to your advantage.

From Top Dawg Entertainment to Dreamville to Quality Control Music, the music industry’s Black-founded record labels focus on fostering cultural bonds and promoting Black excellence. LVRN is a global 100% Black-owned record label. From its management to publishing, LVRN is all Black and all love. Aside from finding some of the hottest up-and-coming Black artists in the music game, LVRN also advocates for racial equality, brings awareness to mental health in the Black community and supports Black creatives. Love Renaissance has made major steps in solidifying its legacy, and its future is bright.

BY: ARIANNA FLEURIOT

LVRN is not exclusively a record label, but instead, the label operates as a multi-media conglomerate. LVRN signs artists and also offers management services that are unmatched with top-notch quality, attention, creativity, and drive. The label leverages all of its power to get the absolute best for its artists, protect their talent and authenticity and fulfill their wishes. The creativity, originality and attention to detail of LVRN are what sets it apart from others. In terms of marketing, LVRN is miles ahead of other labels. LVRN has the best album rollouts in the game; they’re simply unmatched. Their rollouts turn heads, keep fans engaged, and get the media going. Many people are scared to take the risks that LVRN does creatively, which is their greatest advantage.

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DATING HOR

JAY DA H IN DS @ JAY DA S C O MIC S

RROR STORIES

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WHAT DOES YOU ARTIST SAY A GIVEON You like for your relationships to be escapes from reality.

You often say to your partner, “Let’s stay in the world we created,” regularly choosing play over work. When a relationship ends, it is hard for you to move on. You remember all of your ex’s “Garden Kisses.” On your mental calendar, you have marked your “Heartbreak Anniversary” which is a testament to your impeccable memory. Everything reminds you of them as you wonder if their feelings for you were as deep as yours were for them. Your excessive sentimentality is your prison. You hold fast to pain because of its familiarity. You are just looking for someone worthy of your sleeveworn heart.

SZA You are very inward-looking. Such introspection allows you to be very attuned to your emotions but it also sometimes floods you with urges to pick apart every single “flaw” you think you have. You are working on your insecurities, your “Broken Clocks,” and stepping into your power, getting more comfortable with being alone with yourself. Your emotional vulnerability is your strength. You are searching for a romance that lasts more than “The Weekend.” You are beginning to embrace both your inner and outer beauty, shedding off “Supermodel” standards and what you think a “Normal Girl” should be. But, you are only “20 Something.” There’s time for you to find those “Good Days.”

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UR FAVORITE R&B ABOUT YOU? B Y: I SA I A H W A SH I N G TO N

BRENT FAIYAZ

You are looking for someone to “hold [you] down like gravity,” a companion for your “Wasting Time.” Responsibilities are suffocating to you. You prefer a freer way of existing even if that makes you a “Dead Man Walking.”

You don’t like burdens and being a burden to others. You and your exes were “lost souls” who lost love when you lost “Trust.”

SUMMER WALKER While you have suffered many heartbreaks, you continue to give 100% to your relationships. You would do anything for the people you cherish, anything to protect them. You also know how to protect your own peace. You know when you’re “Over It” and know how to distance yourself when your 100% is matched with anything less. Your type is straightforward people who don’t waste your time “Playing Games” with your heart. Your pet peeve is “Broken Promises.” Transparency is what you truly desire. The people you allow to “Come Thru” need to be aware of your wants and needs.

After all, “girls need love too.”

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A conversa tion with the founde r and leade r of Heal Da H omies

From their academic pursuits, personal lifestyle changes and community service, Legal Studies student Kayla Kelly is focused on making an impact beyond AU’s campus. They joined The Blackprint to share their story and all of the ways they are shaping a brighter, magical future.

BY: FESTICIA BOVELL

THE BLACKPRINT: As the Founder of Heal Da Homies, can you describe what it is and what the inspiration behind that was?

KAYLA KELLY: Heal Da Homies was created to meet the needs of marginalized communities and more specifically houseless folks and folks that belong to the Black, brown and Palestinian communities. Through our work we strive to liberate people through all different sectors - food and security, through temporary housing, through careers just every sector we touch upon because I don’t just believe in one time charity. We want to help people who can sustain themselves over a long period of time. As for my inspiration for this project that I started last year in the beginning of November, were my grandparents. They are immigrants from Jamaica. So, in the neighborhood that I grew up in Hartford, Connecticut, we also live amongst other immigrants from the Caribbean. And so, my grandparents, previously being farmers, established a community garden. For instance, in their own backyard, they’ll grow herbs, spinach, etc. One neighbor would grow corn, tomato etc, one neighbor would grow fruit and they would have the switchover. Alongside that, our neighbors would have a money pooling system. For example, of a child from the neighborhood has aspirations to go to college, everyone would pool money for books or transportation. We had set up Heal Da Homies like a solidarity system in which I wanted to bring to DC. I try to build a solidarity economy which is trying to replace the capitalistic framework that’s currently in place and to have everyone play a role in this fight towards liberation. From the caretakers, to the mental health care specialists, everyone has a role. Yes, we (Heal Da Homies) try to provide services, but we also collaborate with our partner orgs in order to have that sense of solidarity.

BP: What does the LGBTQ representation on campus mean to you, specifically when it comes to your work with Heal Da Homies?

KK: Interesting question because I have conflicting views on that. The white queer experience and the Black queer experience are vastly different. The white queer experience is more representational, more job offers there’s everything that white supremacy has. With Black queerness, it’s more than just our queerness, but also our racial identity and how we travel through the world because our own queeriness and our own culture is stolen and commodified through certain avenues such as drag shows. With Black queernes, the topic is already taboo in many Black communities. Navigating that through Heal Da Homies, we try to establish a safe space and facilitate conversation to have a shared understanding.We try to evaluate the queer experience beyond sexual attraction and through how we want to represent ourselves, and try to eliminate our own biases. We haven’t done any specific events towards that, it’s been more conversations on campus. Relatively, it hasn’t been easy, when my orgs and folks aren’t queer or don’t use she/they/them/he pronouns but there are obvious topics to discuss like inherent transphobia, preferences and etc. With Heal Da Homies, being a BIOPC, queer organization, it has it’s ups and downs. When we first started off, we had a self defense collaboration with a Black male org supporting Black empowerment. But folks were misgendered. So within organizing pro-Black spaces, there’s so much work to be done. Especially with the older crowd, they fail to evaluate intersectionality in which we try to bring to the table so it has been hard.

BP: What has been one of your most memorable or rewarding experiences as the Founder and leader of Heal Da Homies?

KK: There are many things. One experience that comes to mind is - what we do, is hold flea markets periodically like donations. It functions as a market and us giving away clothing to houseless folks. There’s one interaction where I gave a man a jacket and he said, oh how much do I have to pay you, and I said no it’s free, take it. And he said, but do I owe you something? I said no, you’re given a right to be kept warm. He said that he hasn’t felt this loved in a long while and that just felt really good because knowing that what you’re doing is influencing others to keep going and to actually feel cared for, that’s my biggest goal. To have that mark on someone’s heart genuinely feels so warming. We often have those interactions too with houseless folks that we have grown to know.

We know their names and built that relationship with them. That’s the most rewarding part, is having relation-

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BP: What keeps you motivated and how do you balance your academics with Heal Da Homies?

KK: I definitely feel overwhelmed a lot with balancing things as a student, and with grad school applications coming up, it does make me question, what’s the point? But seeing the results of the work I do keeps me going.

One instance, this freshman DMed me like ‘oh hey, we learned about Heal Da Homies in our class today. The professor showed us your flyer and we talked about abolition and community work and that felt really good. It’s not just on social media but it’s a part of a curriculum. In this other instance, I was speaking at this Palestinian rally, back in June and after I was done speaking, this random person said ‘I’ve been attending rallies for the past 10 years and yours really spoke to me and really touched me, keep on going.’ Memorable experiences like that really keep me going. Like my work is really doing something. I think what works is I ask for help. I struggle with that due to pride reasons. But, recognizing the community that I have around me and in my fellow members; asking for help and dividing work among them - that keeps me balanced.

BP: How have your interests and passions shaped your experience here at AU? KK: Doing work with houseless communities and abolition as a whole has really transformed my thinking in decolonizing my mind, the way that I personally see the world and interact with classmates. For instance, we were talking about new inventions that are being made like self-driving cars, --as a preface, I was the only Black person in the class-- so many of my classmates talked about that a company would have big sales if they have self driving cars. I brought up the fact that if that happened in DC, where many Lyft drivers are Black and brown, Self-driving cars would cause so many displacements for them. It makes DC, the chocolate city, more milk in that chocolate. It’s giving caramel. Certain experiences like that, I try to bring my own personal background as a low-income Black person. I try to integrate that into white spaces. They have been in their own white bubble for so long. As a writer for The Eagle, I center my writing on the Black experience also critique what AU currently does. For instance, I did an article on the “mini-semester” and how bringing numerous wealthy white kids into this impoverished city, in the midst of a pandemic would be very impactful with people partying, also with COVID cases spreading in the city.

BP: How do you hope to inspire your peers?

KK: I want to inspire them to take action. It’s one thing to cheat your mindset to learn more, read more etc consuming all that information and then not acting upon is such a disservice to folks. It’s one thing to read an Angela Davis piece but then you won’t call out racist family members at thanksgiving. So I push them to take action. Within Heal Da Homies, we have a food distribution every week, so I’ll put out openings for food distribution, food prep, and out in those food prep sessions, we’d have casual conversation talk but also I’ll ask, ‘hey how do you feel about this topic, what do you have questions on?’ And then we’ll talk about that, and talk about steps into making that a reality. I really push them to do something with their privilege and that has resulted in people saying ‘I’m not racist so I’m doing the readings, I’m posting things, I’m spreading Black awareness.’ if you say that you support that community but there’s no example of you actually doing so, it’s not effective.

BP: What does a day in the life of Kayla Kelly look like?

KK: I’ll wake up around 7-ish. My notifications are always booming. I look at messages from our volunteers about our next events, jobs for houseless members, collaborations and emails from my professors about assignments that need to be turned in. During downtimes, I’ll answer heal da homies emails, do business-oriented things, or planning our next event, like crafting a flyer, ordering things for our flea market, scheduling weekly meetings, projects and a period for me to hang out with friends because social time is really needed. I’m currently babysitting from 3-6, I’ll turn off my phone because all that time answering DMs and stuff can get overwhelming, so I just spend time with the kids. I’ll go to TDR, do homework, go to the library ‘till about 1 A.M. and come back home and watch Netflix.

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“ My goal is to be a criminal justice lawyer along with having a community center in certain neighborhoods and employ formerly incarcerated people into my firm. But in 10 years, I’ll be 29 - I hope to be working at an organization like ACLU, or something more grassroots. By then, I hope to have my law degree to help within those communities. Also growing Heal Da Homies on a different level.

At that age, I hope to be managing a community center that’s self-sustaining with staff so I don’t always have to be there. I hope to stay in DC because I have a plan and future with the city. I don’t see what I’m doing as a college project, but to actually have something that

RONALDO BOLAÑOS

families can rely on.”

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What We Wa

To you, whoever you are, Black women have been my protectors in this lifetime, certainly the last and prayerfully the next. I have known no stronger love than that I have received from Black women-- my mother, my grandmothers, my aunties, my cousins, my best friends, the kind, soulful Black women I have met in my community, outside of my community and in the sweetest of moments. I have never received a better love.

For this love, I am eternally grateful. This love has taught me to fully embrace and respect my identity as a Black woman, as a complex being with complex thoughts and feelings. I was raised in a multicultural community, in which my mother insisted I learn Spanish. In this community, I have learned to express myself in a non-native tongue.

I have always felt supported in exploring who I am and doing what I love, and this context is important for what I’m about to tell you. What I’m about to show you.

I came across the definition of reproductive justice towards the end of one of the most painful periods of my life. I had spent about a year struggling to control and manage my mental health disorder, and in a way, my suffering proved to be cathartic. I was not the same person I was before; I had spent a lot of time in cognitive behavioral therapy, I had tried several treatment methods, and I found a combination that worked. I was feeling balanced and was optimistic about the future of my mental health. I felt good.

These words couldn’t have come at a more divine time. They appeared in a reading for class, defining reproductive justice as: “‘the complete physical, mental, spiritual, political, economic, and social well-being of women and girls, and will be achieved when women and girls have the economic, social, and political power and resources to make healthy decisions about our bodies, sexuality and reproduction for ourselves, our families and our communities in all areas of our lives.’”

This definition of reproductive justice was written by a Black woman, Kimala Price, who has done a lot of work in the reproductive justice movement. At the time I was also reading brilliant texts like Killing the Black Body by Dorothy E. Roberts and articles written by intersectional scholars Patricia Hill Collins, Kimberlé Williams Crenshaw and bell hooks.

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a t e r , Gr o w s :

A Love Letter

In combination with what I had experienced with my own mental health and what I learned about my spiritual health as a result, it became clear to me that reproductive justice advocacy would play a significant role in my work during this lifetime. And just as Black women have protected me physically, emotionally, and socially, I had decided through reproductive justice and wellness that this is how I was going to protect them.

What We Water is a digital space dedicated to the sexual, emotional and mental wellness of Black and brown women and reproductive justice advocacy. A seed planted in early 2021, this project is set to be launched January 1st, 2022. The name comes from the idea that what we pour into ourselves will evolve--what we water will grow. As I tirelessly navigated my mental illness, I realized that prioritizing my mental health was no longer an option, but instead a requirement for my well-being. I reached out to my good friend Sofia Dean, whose own interests include racialized health disparities and criminal justice (among others), and who agreed that there is an underrepresentation of spaces that address wellness and justice, and how they are related. Thus, we birthed an organization.

What We Water was created with love for Black and brown women. I cannot truly express how excited I am to launch this project and watch it bloom. This is for you, for them, for her--and I hope you know this is the beginning for us.

With love,

Makenna Lindsay Executive Director and Founder of What We Water

JESSICA FELICIO

As written in the mission statement, our goal above all is to support our communities by providing accessible resources for sexual, mental, spiritual and emotional health, in addition to supporting safe, independent choices in reproductive care. What We Water is our contribution to Black and brown women’s health and wellness, in which we provide essays, content, resources, media, and more about the importance of investing in all aspects of ourselves.

PRINCE AKACHI

WHAT IS POC SOLIDARITY?: NAVIGATING + UNPACKING THE DIFFERENCE BETWEEN BLACK & POC Divide and conquer.

BY: AMIRA TRIPP-FOLSOM

Since the creation of the social concept of race, white supremacy and those who seek to sustain it have successfully carried out this strategy to maintain domination and power over the rest of the world. In the context of American history, the racialization of Black people and people of color (POC) has saddled each group with their own unique set of struggles; however, the term POC leaves a poor taste in the mouths of many Black Americans. How can we all be lumped into one group? Is there just white and…not white? If we all fall into this “not white” category, how can we be expected to be united in our struggles when the issues that we face are so different? Moreover, how can we be expected to work together when non-Black communities harbor anti-Black sentiment which stands in the way of solidarity?

Unfortunately a common consensus amongst Black Americans is that POC solidarity is a myth. When a slur for Black people exists in nearly every language, it calls into question whether we all have the same vision of freedom. Do other groups want to be assimilated into the power and domination over others that comes with whiteness while others desire complete liberation? While there is no doubt that anti-Blackness is alive and well in non-Black communities, I would argue that history shows POC solidarity is not a myth, but rather a work in progress.

The 1960s offer a plethora of intercultural and interracial solidarity movements with the collaboration of the Black Panthers with Los Siete, the Young Lords, Palestinian activists, and East Asian activists showing up under the slogan “Yellow Peril Supports Black Power” serving as just a few examples. It was the work of these groups that inspired the Third World Liberation Front comprised of Black, Asian, Latinx, and Indigenous students at San Francisco State University to successfully pull off the longest student strike in United States history to establish the first the School of Ethnic Studies in this country. Without their work, there would be no Critical Gender and Race Studies Department at American University.

More recently in 2014, Black and Palestinian activists have demonstrated immense solidarity on the front lines in Ferguson, Missouri and Gaza united in struggles against violent police states and colonial occupation. The late Palestinian American activist, Bassem Masri drew comparisons between the two movements in his piece “In Ferguson, I am reminded of Palestine” noting how in both places, human beings were being tear gassed and subjected to military assaults for simply asserting their humanity. Representative Cori Bush who also hails from Ferguson cited Masri as “one of us” in her condemnation of Israel’s senseless airstrikes which killed over 200 Palestinians this year and acknowledged how Black and Palestinian struggles are intertwined in her cosponsoring of a joint resolution to halt a $735 million US arms sale to Israel.

On AU’s campus, various Black and POC student organizations collaborated with the African Students Organization (ASO) to celebrate Africa Week, a longstanding tradition at AU. ASO worked with the Asian American Student Union, The Blackprint, Caribbean Circle, the League of United Latin American Citizens, AU’s NAACP, the Ethiopian and Eritrean Student Association, the South Asian Student Association, and the Muslim Student Association to put on a week’s worth of events including a trip to the Smithsonian National Museums of African and Asian Art, an open mic fundraiser in collaboration with The Bridge Café to support the Haitian migrant crisis, and a discussion on cultural appropriation versus appreciation just to name a few. Now that is what I call Black and POC solidarity! Rather than focusing on how our differences divide us, we must celebrate the fact that our differences are beautiful in their own right and worthy of celebration.

While the aforementioned instances of solidarity should be championed, it is still paramount that non-Black communities continually turn inward and address their own anti-Blackness as it is not the responsibility of Black people to do this work. Paulo Freire, author of “Pedagogy of the Oppressed,” offers guidance on how to embody solidarity, writing: “solidarity requires that one enter into the situation of those with whom one is solidary; it is a radical posture.” While Black and POC solidarity has not always been perfect or present when needed, we must continue to work together because our lives depend on it. As those who seek to divide and conquer us, we must cherish our differences and unite under the common goal of liberation from white supremacy in all of its manifestations.

Squid Game: How did the Audience Miss the Mark?

BY: MIA REAVES & SYDNEY HOUSTON The most-watched show in the history of Netflix has drawn audiences from all over the world. This widespread audience has also led to a widespread misinterpretation of the message behind the famous show, Squid Game and a commodification of the series. On the surface level, the show’s main focus was the game itself and what led people to play. However, it is important to see the deeper messaging of the show and what it says about society, which particularly highlights the immoral functions of capitalism and the treatment of impoverished people.

Audiences have severely lost sight of the message the show was trying to send. Many seem to focus on shallowly criticizing the characters, even going as far to commodify the series by making merchandise to sell on Etsy. The powerful message of the show has been forgotten, which calls to question the ways that indebted people are taken advantage of by the upper class. This is exemplified through the structure of the game, the guards and the overseers of the game. The players are quickly dehumanized and pitted against one another, and overall we see the way that capital gain puts the poor at a disadvantage.

Many reviews of Squid Game sweep under the rug an analysis of the actual structure of the game itself. During a certain part of the game, the players realize that they can harm and kill each other outside of the competitions without fear of consequences from the gamemakers. This changes the dynamics that were previously occurring between the players, which was marked by camaraderie and teamwork. Rather than respecting the rules and each other to an extent in the name of the game, they were turned against one another.

Their fear led to distrust in each other, rather than a distrust towards the game and the security enforcing the rules. This switch is what began to change the audience’s opinion of the characters, demonizing the players.

“The greatest misstep of the audience has been this demonization of the actions of the players, and thus the players themselves. In this way, art imitates life: as an audience, we have begun to blame the players for the situation that they are in, rather than blaming the systems of oppression for putting them in that position in the first place. Every action, including that of betrayal or manipulation, was made in this game in the name of survival. In this regard, we have held the players to a higher standard than we would even hold ourselves to.”

As the audience gets a greater look into the backgrounds of each character, we begin to see the circumstances that led them to the squid game. Almost all of the players return to the game because they realize that their life, in their minds, is worse than the potential of dying in the game. The characters each had acquired a level of debt that would leave them enslaved to loan sharks. This is a powerful take on the pain that capitalism has caused for people in the lower class. Many people are in the position that they would rather offer their lives for the slight chance of better circumstances. These players are not stupid for returning to the game, nor were they at fault for putting themselves in the position to go back. It is essential to understand that the characters are not at fault for their deaths, as they were put into a position in which they felt that this was their only option.

With Squid Game becoming a worldwide conversation topic, many had commentary on how they understood the show’s message; however, that quickly was overridden by celebrity culture, companies commodifying the series and the resurgence of fandom surrounding the show. Chrissy Teigen hosted a squid game-themed party and many new shops promoting merchandise with the famed guards in the circle and square masks have appeared online. These actions disregard the message the show attempted to send, for a celebrity with a multi-million dollar net worth to host a party glamorizing the figures responsible for the death and abuse of those in the game is quite ironic. Hyundai also created an ad mock-up of dalgona candy in a now-deleted tweet, which again is ironic considering a car manufacturing plant was the reason one of the show’s beloved characters Ali was killed in the game.

Ad campaigns and merchandising deals are examples of companies using power that the show warns against, allowing for the commodification of Squid Game. We have to stop allowing virality and commodification to keep film and television from sending a powerful critique about our society. Our consumption can be more ethical and we have to hold harmful power structures like capitalism accountable for abusing the everyday consumer, especially the poor. So many are still being abused and suffering from the same crisis those characters were facing before joining the game. We have to use the message to become more empathic, and not seek more profit instead.

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STAFF

FESTICIA BOVELL ISAIAH WASHINGTON GRAVIELA HERNANDEZ-SOSA AMARIS LEVITT JASMINE DEAN AMIRA TRIPP-FOLSOM SYDNEY HOUSTON DAISY ARANHA ARIANNA FLEURIOT SYEDAH ASGHAR CHRISRAINE GILPIN MIA REAVES

SPECIAL THANKS TO

AISHA JALLOW MALIK GOMES CRUZ KAYLA KELLY RONALDO BOLAÑOS JAYDA HINDS CYNTASIA PALMER MAKENNA LINDSAY KHADIJAH DIALLO UPNEET KAUR

#STAYWOKE @THEBLACKPRINTAU WWW.THEBLACKPRINTAU.COM